Top 10 albums of the year 2023
Happy New Year way too late yadda yadda yadda SO ANYWAY…
Last January, I called the prospects for new releases in 2023 "incredibly miserable". And while we did get some solid outputs after all (weird if we didn't) the genuine bangers were few and far between.
The biggest common denominator in the top 10 this year is an average band member age of 50+. But genre-wise, while 2022's top 10 had somewhat of an over-representation of death metal and hard rock, this one's all over the place…:
Top 10 albums 2023
- Uriah Heep – "Chaos and Colour"
Much like their fellow contemporary pioneers in Magnum did the year before, Uriah Heep opened 2023 with a bang. A bang so big that it ended up resonating throughout the year as the echoes from otherwise decent new outputs by younger bands had come and long gone.
Displaying an impressive, sometimes blistering energy and a sense of songwriting that couldn't be faked for millions of dollars, the Heep once again acted as a beacon for said younger bands with sublime songs like the bombastic "Hail the Sunrise", near-metal opener "Save Me Tonight" and the prog cornucopia of "You'll Never Be Alone". This, kids, is the very DNA of heavy metal. And it's alive and well - Overkill – "Scorched"
Oh, and speaking of contemporary pioneers and showing others how things are done properly. Released on the same day as Metallica's passable "72 Seasons", Overkill's 20th album made their wealthy West Coast colleagues sound just about ripe for retirement. – And themselves sound like a bunch of raging 20-some-year-olds with an extra 30-some years of experience.
While "Scorched" won't enter the ranks of Overkill's classic albums, it's still easily the band's strongest output since their 2010 comeback "Ironbound". With songs like "Twist of the Wick" and the title track thrashing and pounding as hard and relentless as the band ever did, one might suspect producer Colin Richardson of having somehow put Viagra in the master tapes. - Winger – "Seven"
One might point out that calling Winger hard rock's #1 most unfairly ridiculed group isn't necessarily saying a lot. But for connoisseurs, it's still impossible to not get a bitter taste when considering just how grand those classic songs were, and how shamefully ridiculed the group became.
Apart from its uninspired opener and first single, Winger's seventh studio album is a wonderful walk through classic hard rock ("Heaven's Falling"), sleazy heavy metal ("Stick the Knife in and Twist"), and somehow sensuous introspection ("It All Comes Back Around"). Some of these new songs could've easily appeared on a third Winger album which, in a fair world, would have gotten at least the same amount of positive attention as its two near-immaculate predecessors. - Cattle Decapitation – "Terrasite"
Still exploring new territory in their own, grind-y vein of brutal death metal, vegan doomsday preachers Cattle Decapitation put themselves ahead of 99% of their colleagues in terms of both near-supersonic blast speed, vocal variety, and a conspicuous convergence between technical brutality and huge, disturbing soundscapes. It's almost impossible to single out any tracks, largely due to the demanding nature of the music. But it's all the more impressive for the same reason. - Marduk – "Memento Mori"
In this day and age, where people take doofy concepts like Babymetal seriously and consider whiny poser garbage like Linkin Park "old school", it's an unholy blessing that we still have the likes of Marduk around. Sticking just as hard to their guns as any other group on this list, one of Norway's longest-going institutions of blast-speed black metal treated us with a 15th studio album which, in all its uncompromising grimness, could very well be called the truest output of the year. But even so, the overall extreme sonic surroundings still leave room for both slower and more doomy atmospheres, and for simpler, more punk rock-inspired ones. - Rancid – "Tomorrow Never Comes"
Oh, and speaking of punk rock! 2023 gave me the opportunity to reconnect with my old faves in that very genre, and what a delight that was. Clocking in at a playing time of around 30 minutes, and with a total of 16 songs, Rancid not only lived up to the title of their 10th LP by not wasting one second; they also treated us to a bunch of hella catchy tunes.
Some were in the band's classic vein, like the title track and the almost anthemic "New American". Others, like "Prisoner's Song" and "Devil in Disguise", more inspired by Flogging Molly and perhaps especially former touring mates Dropkick Murphys. Others again in a more gritty hardcore vein. This all says a lot about the Rancid's versatility, but the fact that they're still putting out songs as fresh and inspired as +25 years ago is just plain impressive. - Lumsk – "Fremmede Toner"
The most gutsy, creative, and original comeback of the year. Not having released a new album since 2007's diversive "Det Vilde Kor", Norway's reunited folk-metal 7-piece Lumsk gave fuck all about anyone's expectations for a new return to the band's roots. The result was a daring 2-part concept album of interpretations of national poet André Bjerke and international translations thereof by Nietzsche, Goethe, et al.. And while the band does retain several of their folks-y elements, they continue to push along that progressive path upon which they trod before breaking up back then. I, for one, am already hungry for further developments. - Queens of the Stone Age – "In Times New Roman…"
On the opposite end of the spectrum of seeking out unexplored territory, but not being less creative for that reason, Josh Homme & Co. put out a record that sounded so much like QotSA that it might as well have been released back when I stopped following them. A fine example of less does it, "In Times New Roman…", while not surpassing 2002's semi-masterpiece "Songs for the Deaf", is at least as inspired as several of its high points.
Homme's signature stiff, robotic riffs and sexy phrasings are in unlikely accord throughout, as are his all-prevalent tongue-in-cheek wordplays and his weirdly unique guitar scales, collectively making for a creative expression that couldn't disappoint any fan. It all culminates in the equal parts bitterly bleak and informally bouncy semi-epic "Straight Jacket Fitting", an indeed fittingly anticlimactic climax to 2023's most contrasted album. - Immortal – "War Against All"
Even though Abbath's hallmark angry Popeye impersonation is clearly missing, and even though the <40m "War Against All" is relatively homogenous in all its pure minor-scale black metal, Demonaz still makes the 10th album released under the name of Immortal work to the extent that it should – and then some. That signature grim and frostbitten sound is intact; there are several throwbacks to Immortal's sources of inspiration such as Motörhead and Maiden, and there's plenty of profane dissonance and blast beats as should be the case. Not original, but more than what we might expect at this point. - Extreme – "Six"
There was a lot of noise around first single and opener "Rise" from Extreme's 6th LP. Not surprising, what with its predecessor hailing all the way back to 2008, but also with that face-melting solo from ever-overlooked face-melting guitar player Nuno Bettencourt. And even though several of the tracks are built upon dry, chugging chord figures rather than those sexy funk-rock riffs of yore, the whole thing opens to reveal a fine album. The acoustic tracks like "Small Town Beautiful" are as pretty and catchy as fist-pumpers like "#Rebel" are hard-hitting… and catchy.
Runners-up
- Lordi – "Screem Writer's Guild"
- Prong – State of Emergency"
- Twilight Force – "At the Heart of Wintervale"
- In Flames – "Foregone"
- Filter – "The Algorithm"
Honorable mention
- Cavalera – "Bestial Devastation" / "Morbid Visions" 2023
As I stated in my review, while the re-recordings of Sepultura's '85 debut EP "Bestial Devastation" EP and '86 debut LP "Morbid Visions" aren't counting towards my official Top 10, I gotta mention them. Honorably. Because holy shit, did bros. Cavalera just redeem something which I'd otherwise thought irredeemable.
The originals were arguably watershed records in both early black and death metal, expanding upon the works of, say, Hellhammer, Celtic Frost, and Venom. And much like with the group's muses, the production was so shitty that I've never been able to disregard it. So finally, these new imaginings not only feature a soundscape equal parts impenetrable and intimidating, but also an aggression and intensity more otherworldly than ever before heard from the Cavaleras. If anyone still needs any proof that these guys are the very metal essence of Sepultura, there's nothing else anyone can do at this point.
The ones I did listen to, but…
Then, of course, there were a lot of albums that I did hear – at least partially – but that either weren't very interesting and/or I just didn't bother to review because they weren't very good.
The new Ahab album did sound like Ahab. But seeing as how it's fucking Ahab, and especially given the "Twenty Thousand Leagues Under the Seas" concept theme, I was expecting a lot more. The new – and, as it turned out, final – album by Russkaja sounded pretty goofy. But neither that or anything else justifies bullying the band into "cancelation" just because Vladimir Putin is a warmongering piece of shit and because all you woke shitheads are too blinded by your own social justice hysteria trip to recognize an obvious gimmick for what it is.
2023 was also the year that I finally heard albums by Avatar and Thy Art is Murder, and they were both as boring as I always imagined. The debut album from Angus McSix sounded like power metal just as loveably dumb as his old outfit, Gloryhammer. The new album from Sadus sounded like thrash metal. And the new Keep of Kalessin album just plain sounded like metal.
New supergroup Empire State Bastard released a debut that sounded like they had lots of fun in the rehearsal room but kinda forgot to write songs. L.A. Guns made a record that did have its moments, but also some downright horrible ones. Might've made for a nice EP without all the sucky stuff. Dog Eat Dog made a "comeback" album that sucked almost as bad as the last Ugly Kid Joe LP. Black Stone Cherry put out a record that was exactly as horrible as people told me their records were at their worst moments when I was raving about having seen an awesome concert with them in Budapest in 2022.
After many, many years, Alcatrazz released a new album. But wait a minute… Graham Bonnet isn't on there! He has his own version of the band – its only other member being Jeff Loomis, incidentally. So I didn't bother reviewing it – even though it actually did sound great, and even though Doogie White is handling vocal duties.
In the world of death metal, we got a bunch of rock-solid releases from Cryptopsy, Dying Fetus, Cannibal Corpse, Autopsy, and Suffocation. Rock solid and ass-kicking as they should be – but none brought anything new or very exciting to the table. The same was the case in classic German heavy metal, with U.D.O., Primal Fear, Iron Savior, and Doro all releasing straight-up, state-of-the-art heavy fucking metal records… none of which contained a tad of originality. I know they're not necessarily supposed to, but that doesn't make them any more interesting.
The new releases from Kvelertak, Primordial, Myrkur, and Soen might all be passable if you were a class A, backstage-snooping, jizz-guzzling fan of either of these artists, but just plain boring to the rest of us. Rival Sons released two of those. And my countryman Ronnie Atkins, Denmark's finest hard rock and metal vocalist, put out a third solo album that wasn't bad or even mediocre by any stretch, but just didn't call for a lot of interesting commentary. Catchy melodies, heavy riffs, interesting tonal changes, superb mixing and all, but I wouldn't be able to fill out an entire review with relevant observations.
Pretty much the exact same thing went for the latest, impressive 1-hour effort from Angra. And the latest Dokken album, showcasing almost every note in that one octave that Don Dokken has left, should, as one YouTube commenter pointed out, come with a free pack of cigarettes. Coupla nice songs and some killer solos from Jon Levin, but a lot of filler. Along with Dog Eat Dog and L.A. Guns, there's the Top 3 washed-up chart for 2023 right there. Yeah, go on and kill the messenger.
The ones I didn't hear at all
Apart from all those above mentioned, I had to leave out a lot. Mostly because of time issues. Apart from the odd guest review and, of course, my lovely assistant being on board, this is still largely a one-dude show.
There were, for example, new cover albums from Dimmu Borgir, Lord Of The Lost, and Saxon, the latter putting out their second cover album. But those don't count anyway. Then there were solo releases by Corey Taylor and Duff McKagan, respectively. But I suppose if any of them had had a categorically exuberant solo career, I would know about it. There was also a new album by Phil Campbell and the Bastard Sons, but after what my guest reviewer said, I decided to leave it.
And apart from those, 2023 saw new albums, which I didn't hear, by Katatonia, Metal Church, Church Of Misery, Nailbomb, Jag Panzer, Raven, Virgin Steele, Bloodbound, Girlschool, Obituary, Skindred, Kataklysm, Dethklok, Deströyer 666, Baroness, Brujeria, Otep, Nervosa, Angelus Apatrida, Therion, and my doomy, gloomy countrymen in Saturnus.
… And you know what? This is just to name a few. See, apart from all THESE releases, ladies and gentlemen, were all the ones I simply didn't bother making a note of. Because there are way, way, WAY too many metal bands in the world – let alone bands in the first place. For every group whose name I've mentioned here, 2023 saw at least three other releases by groups in the hard rock and/or metal genres, most of whom I've never even heard of.
Being a privileged, 1st-world born digital nomad, I might view this as a 1st-world problem. However, I view it as too much abundance. Not as in too much of a good thing, but as in too much of a thing that is probably mostly acceptable or above, but most of which I would rather trade for having, instead, much fewer, much better bands. But here we are.
Moving forward…
Last year, I talked about being way behind on reviews and articles. Fast forward 12 months, it's at least three times as much. And it mostly has to do with the fact that during 2023, my second year as a digital nomad, I visited 11 new countries – 15 in total.
In all fairness, of course, Global Metal Blog IS my own goddamn website, and I'm putting out everything for free. So I'll publish my content whenever I damn well feel like it. However, I do feel like not being too many days behind the release date of any new album. So… it's a balance I gotta learn.
Hopefully, things could even out a bit in 2024 since we're not gonna be traveling as much. At least for the first 6 months or so. But don't get too excited now.
Travel-wise, though, I'm gonna be spending more time in Germany. (My lovely assistant is German – in case you couldn't tell by her cute little accent.) But I've also got Malta and Poland lined up – gonna be seeing Judas fucking Priest with Saxon and Uriah Heep in Krakow in March. Apart from that – and apart from Epic Fest coming right up! – I'm counting on covering Copenhell and Jailbreak again this year. Let's see who else we'll catch on the road.
In the way of new releases, we've already gotten what might sadly be the last album from Magnum (review pending). And the ol' pipeline's already got new releases from Saxon, Ihsahn, Austrian Death Machine, Bruce Dickinson, Ministry, Judas fucking Priest, Sonata Arctica, and DragonForce lined up. And – if you hadn't guessed it – much, much more.
Thank you very, very much for reading along. Also thanks to those who are following along on our YouTube channel. (If you're not one of them, go on in there and click Subscribe!)
Thank you all for sticking by real music in these dark times. Thank you for planting illegal stuff on anyone who's into reggaeton and then reporting them to the police. You didn't hear it from me.
Think global, act metal.
– Andy